be seen with pleasure, that Crebillon, Maupertuis, Chevert, and Cay lus, ornament our collection. Thou, Drouais! son of a much esteemed artist, thou also didst honour to the age in which thou livedst. Thou art dead to the arts, but thou hast transmitted to posterity thy Name, thy Cananean, thy Marius! Yes, thy tomb shall dignify this Work, and souls endued with feeling will acknowledge the friendship of its author.

The third and last Part contains an Historical Dissertation upon the art of painting on Glass, and an interesting Chronology of the principal works of that kind, from the period of the Invention of the Art; particularly of those executed after the designs of Raffaello, Primatice, Albert Durer, John Cousin, Lesueur, and Elie.

An Elysium appeared to me conformable to the nature of the establishment, and a garden adjoining to the house furnished me with ample means for the execution of my plan. In this undisturbed and peaceful retreat, more than forty statues are distributed; and upon a grass plot, tombs appear to elevate themselves with dignity, in the midst of silence and tranquillity; pines, cypresses, and poplars surround them. Effigies and urns enclosing the "hallowed ashes of departed worth,” placed upon the walls, concur to inspire this delightful spot with that tender melancholy, which appeals so forcibly to the feeling mind.

Here may be found the tomb of Eloisa and Abelard, upon which I have had engraved the names of that unhappy pair! the Ceno taphs, and the reclined Statues of the good Constable Guesclin, and of Sancerre, his friend. In Sarcophagi, executed from my own designs, repose the illustrious remains of Descartes, Moliere, Fontaine, Turenne, Boileau, Mabillon, and Montfaucon: farther on, an obelisk supports an urn, containing the heart of James Rohault, the worthy rival of Descartes; and near this philanthropic heart, is seen the affecting and modest epitaph of John Baptiste Brizard, the favourite of Melpomene, who lately excited the public admiration in favour of the French Stage.'

The preface is followed by an introduction, which contains a brief history of the Arts.

Descriptions of antient Monuments occupy the first department of the volume, in which much learning is displayed by M. LENOIR: but the Greek inscriptions on several of the mar bles are imperfectly copied in the text. The following remark is pertinently subjoined:

The study of the antique is absolutely necessary for young per sons, who mean to pursue that of the fine arts; it is from the antique they will acquire correctness of design, discover forms beautifully executed, and expressions which interest the soul! Sculpture, painting, poetry, architecture, and music, have obtained the title of fine arts, only because their object is to embellish every thing they imi tate; or, in other words, to collect and compress within a small com pass all the traits of beauty which nature has introduced into her immense picture.'

One of the plates represents an antient statue of Meleager; the observations on which may serve to exemplify the author's critical knowlege as an artist:

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The accounts of antiquity respecting Meleager, are very incomplete; the tragic close of his life is the most remarkable circumstance handed down to us. Pausanias asserts, that Phrynicus*, pupil of Thespis, was the first who invented the fable of the firebrand, which Althea had received from the Destinies, and which she threw into the fire to abridge the life of her son.

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Meleager," says the poet," could not avoid his death; his cruel mother lighted the torch, and the unhappy son felt himself consumed by the same fire."

The similarity of this fable to the historical facts found in the life of Meleager, such as the expedition to Colchis in his youth, for the conquest of the golden fleece: his alliance with Jason, Theseus, Castor, and Pollux, who are mentioned as his companions in Colchis, as well as hunting the wild boar of Calydon, throws great obscurity over this hero; and it may be thought Meleager is only an imaginary being, entirely indebted to the poets for his celebrity. Among the an tients, poets were the high priests and chaunters of religion; and the allegories which they introduced into the poems were generally admired. The most simple circumstances were by their means personified, and became mystic beings, which they made use of to effect their purposes: in course of time these allegories have been forgotten; and things which were only the effects of a poetical imagination, have been regarded as realities. Thus Meleager, considered as one of the most famous companions of Jason in his expedition, and Jason, in his turn, a most renowned companion of Meleager, in the celebrated chace of the boar which infested Calydon, and which boar appears to have been the same as that of Erymanthea, pursued by Hercules, the principal hero of a poem dedicated to the sun, appear to me to have such a particular resemblance in all the circumstances attending them, that

Phrynicus, a Greek tragic poet, lived about the year 12 before Christ: he was the first person who introduced women upon the theatre.'

+We have instances of this in our christian legends; for example, St. Margaret (Margaritta), St. Genevieve (Janua Nova), are only things personified and deified, as well as St. Voulst.'

In St. Sepulchre Church, Rue St. Denis, at Paris, there were three large pictures painted in oil, and divided by compartments. These pictures represented the principal subjects of the pretended life of St. Voulst, held in great veneration in that church. There were delineated his travels into Spain, the miracles which he performed on the road, his embarkation, etc. I observed to the priest who was showing me these pictures, that St. Voulst was very little known, and that he appeared to me apocryphal; "He however worked miracles," was the only reply I could obtain. After having thoroughly exami ned these pictures, I remarked that St. Voulst ended in being sacrificed like Christ; that Voulst was a name composed from vultus, face; and that the pretended St. Voulst, was the holy countenance personified, and made to act the past of a living being. These pictures ought to have been preserved, notwithstanding the mediocrity of their execution; but they were removed to the Hotel de Nesle, and sold with other curiosities sent from this museum.'

it is not difficult to perceive that they are the same person represented by the poets in different situations. These poets also place in the ship Argo, with Meleager and Jason, pursuing the Caledonian boar, Theseus, Castor, and Pollux.'

From the similarity which prevails in these accounts, and the cha racter which the poets have given to Meleager, the motive for erecting a great number of statues to him, is easily perceived: he is classed with Apollo, Castor and Pollux, Hercules, Theseus, Jason, etc. all of them allegorical personages, placed in heaven; which, indeed, has itself only become celebrated from the allegories with which it has been decorated by the poets, legislators, and priests of antient nations.

1 believe my observation the more founded, as the greatest part of the antient statues of Meleager bear the stamp of that ideal beauty, which the antients gave to divinities only, and which is so remarkable in the Apollo of Belvidere. From the beautiful shape and inimitable perfection in the proportions of the statues representing deities, those of Meleager have been frequently mistaken for those of Antinoüs, the favourite of Adrian; particularly that of Belvidere. The expression of this statue is full of tenderness and love; it is such as Apollo and Bacchus are described at the approach of spring; the graces play around it; its pliant and regular forms represent nature adorned with her treasures, and regenerated by that universal harmony which spring diffuses over every being a gentle respiration gives motion to his milky white breast; and through the marble may be perceived reiterated palpitations of the abdomen. In short, the more attentively we consider the statue, the more complete is the illusion.'

The other divisions, corresponding more properly with the title, include the Celtic Monuments, those of the Middle Age, and those of the Eighth, Twelfth, and Thirteenth Centuries. In describing the Monuments of the twelfth Century, the author's attention is almost entirely occupied in giving accounts of the celebrated Eloisa and Abelard, illustrated by three plates; the first of which represents the Sepulchral Chapel of Eloisa and Abelard in the Garden of the Museum; the 2d, their tomb in the Abbey of the Paraclete near Nogent-sur-Seine; and the 34, the tomb of Abelard in the Church of St. Marcel, at Châlons-sur-Saône. As many of our readers will probably be amused by the particulars here stated, we shall conclude our extracts by quoting these details:

The Monuments of Eloisa and Abelard are numbered amongst those which excite the deepest interest; the names alone are sufficient to fix the attention of every feeling mind, and drawings of the monuments erected to their memory, cannot fail of attracting general ob

servation.

I shall not attempt to write the history of these unfortunate lovers: Clio has engraved their talents and misfortunes on marble and on brass; the pages of Pope and Colardeau, moistened by the tears of sensibility, bear witness to the refinement of their sentiments and the violence of their mutual passion! But let me invite my readers to peruse

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the verses of these celebrated poets at the foot of the sanctuary which I have dedicated to the illustrious pair, in the Elysium of this establishment, where their ashes are now deposited!

In the history of France, by Véley, Abelard and Eloisa are mentioned as follows: "Abelard was undoubtedly one of the greatest geniuses of the age; it was his misfortune to possess a heart too sus ceptible, and a reputation too brilliant: Eloisa, his wife, survived him nearly twenty years, and was buried in the Abbey of the Paraclete, of which she is acknowledged to have been the foundress. The letters written to each other, after their separation, still exist; and by these it is evident, that their voluntary seclusion had not weakened those sentiments of the heart, which first gave birth to a passion, rendered legitimate by their marriage. Vows! Monastery! exclaims Eloisa, I have not lost the feelings of humanity in submitting to your rigid rules! you have not converted me into marble by changing my dress !** Great piety is nevertheless discernible amidst their weakness; the letters of Abelard display deeper reading, and more solidity of judgment; those of Eloisa possess more vivacity, force, and tenderness."

When the sale of the Paraclete took place in 1792, the Notables of Nogent-sur-Seine went in procession to remove the bodies of Eloisa and Abelard: they were respectfully deposited in the Town Church, and a funeral discourse was delivered upon the occasion by the then officiating clergyman; which, as it evinced great learning, and was pronounced with all the eloquence of sentiment, produced considerable effect upon the audience. It was not until seven years afterwards, that I obtained, from an enlightened minister, the necessary powers to transfer the remains of these celebrated persons to Paris +: It was not enough to collect theis ashes; the monuments which had been consecrated to their memory, either by gratitude or friendship, ap. peared to me necessary for this museum. Vain hope the group representing the Trinity, sculptured from a single block of stone, and which Abelard had placed at the Paraclete, with a view of conveying to posterity an authentic memorial of his opinions respecting this mystery, was totally destroyed: it had been set on a pedestal, and ornamented

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Though cold like you, unmov'd and silent grown,

I have not yet forgot myself to stone.'- -Pope. T.

In the month of April, 1800, I went to the Church at Nogent, accompanied by the magistrates of the town: the vault was opened, and the under-prefect of the district, after having made a written declaration of the fact, delivered to me the two bodics, which were con tained in one coffin, but separated by a leaden division.'

The opinion which Abelard publicly manifested, respecting the Trinity, greatly contributed to increase his sorrows. I have thought it a kind of duty, to state here the principal articles, which form the treatise that occasioned St. Bernard's opposition to this learned divine. Firstly, He de ned Faith, to be the estimation of things invisible. Secondly, He said, that in God, the names of Father, Son, and Holy Ghost, are improper; but that they are descriptive of the plenitude of the sovereign good.

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Thirdly,

ornamented with an inscription, the whole in the form of a cenotaph, by Madame de Roucy, last abbess of that house, who erected it to the memory of the founders; it was afterwards removed to Nogent, where the ill-disposed amongst the revolutionists, discovering in the historical monument nothing more than an emblem of our ancestors' superstition, broke it to pieces

The tomb of Abelard, erected to him in the Chapel of the Infirmary of Saint Marcel-les Châlons, by. his friend Pierre le Venerable, who caused him to be buried there, was preserved by the vigilance of Dr. Boissel, a physician, who, to rescue it from destruction, purchased, and delivered it to me. After having given rise to many discussions in the public papers, it is about to be restored to its original use, and when placed in the centre of a sepulchral chapel, will reunite the inseparable pair!'

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Abelard died on the 11th of the Calends of May, (21st April,) at the Priory of Saint Marcel at Châlons-sur-Saône, where he was buried in the month of November following, Pierre de Cluny secretly removed the body, and conveyed it to Eloisa, at the Paraclete, where it was deposited in a chapel that Abelard had caused to be built, called

Thirdly, That the Father is the full power; the Son, a certain power; and the Holy Ghost, no power.

Fourthly, That the Holy Ghost is not the substance of the Father and Son, as the Son is the substance of the Father.

Fifthly, That the Holy Ghost is the soul of the world.

Sixthly, That we may be willing to do good, and can do it by our free will, without the assistance of grace.

Seventhly, that it was not to deliver us from the power of the Devil, that Jesus Christ became incarnate, and suffered.

Eighthly, That Jesus Christ, God and Man, is not a third person in the Trinity.

Ninthly, That at the Sacrament of the Altar, the form of the preceding substance no longer exists.

Tenthly, That the Suggestions of the Devil operate in men by physical means.

Eleventhly, We do not derive from Adam the fault of original Sin, but only its punishment.

Twelfthly, That there is no Sin, but in consenting to the Sin, and in despising God.

Thirteenthly, That no Sin is committed by conscience, delight, or ignorance; since, these are only natural dispositions."

*Extract of a Letter, addressed to M. Lenoir.

"To preserve the monument respecting the Trinity, which Abelard had directed should be formed from a single block of Stone, M. Menard, a clergyman, obtained permission from the municipality to erect, at the entrance of the vault, a sort of table, about five feet square, upon which the monument was placed, and where it remained respected, until the year 1794; when a few individuals, in less than four hours, destroyed all the statues, tombs, and altars of the Church. Abelard's monument had been spared, until one of them observing, that it was the symbol of religious faith, it was immediately dashed to pieces, and not a vestige of it remains."

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